Biography (b. 1606, Leiden, d. 1669, Amsterdam) Biography Rembrandt was born in Leiden on July 15, 1606- his full name Rembrandt Harmenszoon van Rijn. He was the son of a miller. Despite the fact that he came from a family of relatively modest means, his parents took great care with his education. Rembrandt began his studies at the Latin School, and at the age of 14 he was enrolled at the University of Leiden. The program did not interest him, and he soon left to study art - first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. After six months, having mastered everything he had been taught, Rembrandt returned to Leiden, where he was soon so highly regarded that although barely 22 years old, he took his first pupils. One of his students was the famous artist Gerrit Dou.

Rembrandt moved to Amsterdam in 1631; his marriage in 1634 to Saskia van Uylenburgh, the cousin of a successful art dealer, enhanced his career, bringing him in contact with wealthy patrons who eagerly commissioned portraits. An exceptionally fine example from this period is the Portrait of Nicolaes Ruts (1631, Frick Collection, New York City). In addition, Rembrandt's mythological and religious works were much in demand, and he painted numerous dramatic masterpieces such as The Blinding of Samson (1636, St�delsches Kunstinstitut, Frankfurt). Because of his renown as a teacher, his studio was filled with pupils, some of whom (such as Carel Fabritius) were already trained artists. In the 20th century, scholars have reattributed a number of his paintings to his associates; attributing and identifying Rembrandt's works is an active area of art scholarship. In contrast to his successful public career, however, Rembrandt's family life was marked by misfortune.

Between 1635 and 1641 Saskia gave birth to four children, but only the last, Titus, survived; her own death came in 1642 - at the age of 30. Hendrickje Stoffels, engaged as his housekeeper about 1649, eventually became his common-law wife and was the model for many of his pictures. Despite Rembrandt's financial success as an artist, teacher, and art dealer, his penchant for ostentatious living forced him to declare bankruptcy in 1656. An inventory of his collection of art and antiquities, taken before an auction to pay his debts, showed the breadth of Rembrandt's interests: ancient sculpture, Flemish and Italian Renaissance paintings, Far Eastern art, contemporary Dutch works, weapons, and armour. Unfortunately, the results of the auction - including the sale of his house - were disappointing. These problems in no way affected Rembrandt's work; if anything, his artistry increased.

Some of the great paintings from this period are The Jewish Bride (1665), The Sampling Officials of the Drapers' Guild (1662, Rijksmuseum, Amsterdam), Bathsheba (1654, Louvre, Paris), Jacob Blessing the Sons of Joseph (1656, Staatliche Gem�ldegalerie, Kassel, Germany), and a self-portrait (1658, Frick Collection). His personal life, however, continued to be marred by sorrow. His beloved Hendrickje died in 1663, and his son, Titus, in 1668 - only 27 years of age. Eleven months later, on October 4, 1669, Rembrandt died in Amsterdam.

External links related to Rembrandt's life and works: The Blinding of Samson - Rembrandt van Rijn Paintings The Blinding of Samson We offer original aspect ratio sizes Price 48 X 72 in $1,213.95 If listed sizes are not in proportion to the original, don't worry, just choose which size is similar to what you want, we can offer oil paintings in a suitable size, painted in proportion to the original. If you would like the standard size, please let us know. Need a Custom Size? 1636 Stadel Museum, Frankfurt , Germany. Why settle for a paper print when you can add sophistication to your rooms with a high quality 100% hand-painted oil painting on canvas at wholesale price? Order this beautiful oil painting today! that's a great way to impress friends, neighbors and clients alike. 100% hand-painted oil painting on artist grade canvas. No printing or digital imaging techniques are used. In stock items ship immediately, usually ships in 3 to 10 days. $12.95 shipping charge for small size (e.g., size <= 20 x 24 in).

The cheapest shipping rate from DHL, UPS, USPS, etc. Canvas stretched on wood bars for free. - Need special frame for oil painting? Please contact us. Send you a digital copy via email for your approval before shipping. 45-day Satisfaction Guaranteed and 100% Satisfaction Guaranteed. Add The Blinding of Samson to Your Privete Lists You are not signed in. Select here to add this item to your default List. To create a new List, use the "new Wish List" option below. Default List Data successfully added to your Wish List ! Be the first to critique this painting . Critique this Painting Your critique is viewable immediately by the public. Your Nickname: PaintingMania.com reserves the right to edit or remove inappropriate critiques. Other paintings by Rembrandt van Rijn: The Ascension The Baptism of the Eunuch The Circumcision more... Rembrandt was born in Leiden on July 15, 1606- his full name Rembrandt Harmenszoon van Rijn. He was the son of a miller. Despite the fact that he came from a family of relatively modest means, his parents took great care with his education.

Rembrandt began his studies at the Latin School, and at the age of 14 he was enrolled at the University of Leiden. The program did not interest him, and he soon left to study art - first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. After six months, having mastered everything he had been taught, Rembrandt returned to Leiden, where he was soon so highly regarded that although barely 22 years old, he took his first pupils. One of his students was the famous artist Gerrit Dou. Rembrandt moved to Amsterdam in 1631; his marriage in 1634 to Saskia van Uylenburgh, the cousin of a successful art dealer, enhanced his career, bringing him in contact with wealthy patrons who eagerly commissioned portraits. An exceptionally fine example from this period is the Portrait of Nicolaes Ruts (1631, Frick Collection, New York City).

In addition, Rembrandt's mythological and religious works were much in demand, and he painted numerous dramatic masterpieces such as The Blinding of Samson (1636, Städelsches Kunstinstitut, Frankfurt). Because of his renown as a teacher, his studio was filled with pupils, some of whom (such as Carel Fabritius) were already trained artists. In the 20th century, scholars have reattributed a number of his paintings to his associates; attributing and identifying Rembrandt's works is an active area of art scholarship. In contrast to his successful public career, however, Rembrandt's family life was marked by misfortune. Between 1635 and 1641 Saskia gave birth to four children, but only the last, Titus, survived; her own death came in 1642- at the age of 30. Hendrickje Stoffels, engaged as his housekeeper about 1649, eventually became his common-law wife and was the model for many of his pictures.

Despite Rembrandt's financial success as an artist, teacher, and art dealer, his penchant for ostentatious living forced him to declare bankruptcy in 1656. An inventory of his collection of art and antiquities, taken before an auction to pay his debts, showed the breadth of Rembrandt's interests: ancient sculpture, Flemish and Italian Renaissance paintings, Far Eastern art, contemporary Dutch works, weapons, and armor. Unfortunately, the results of the auction - including the sale of his house - were disappointing. These problems in no way affected Rembrandt's work; if anything, his artistry increased. Some of the great paintings from this period are The Jewish Bride (1665), The Syndics of the Cloth Guild (1661, Rijksmuseum, Amsterdam), Bathsheba (1654, Louvre, Paris), Jacob Blessing the Sons of Joseph (1656, Staatliche Gemäldegalerie, Kassel, Germany), and a self-portrait (1658, Frick Collection). His personal life, however, continued to be marred by sorrow.

His beloved Hendrickje died in 1663, and his son, Titus, in 1668- only 27 years of age. Eleven months later, on October 4, 1669, Rembrandt died in Amsterdam. YOUR BROWSING HISTORY Rembrandt van Rijn, The Return of the Prodigal Son The Return of the Prodigal Son c. 1669 Oil on canvas, 262 x 205 cm. The Hermitage Museum, St Petersburg Rembrandt VAN RIJN Leiden 1606 - Amsterdam 1676 Rembrandt was born in Leiden on July 15, 1606 - his full name Rembrandt Harmenszoon van Rijn. He was the son of a miller. Despite the fact that he came from a family of relatively modest means, his parents took great care with his education. Rembrandt began his studies at the Latin School, and at the age of 14 he was enrolled at the University of Leiden.

The program did not interest him, and he soon left to study art - first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman, known for his historical paintings. After six months, having mastered everything he had been taught, Rembrandt returned to Leiden, where he was soon so highly regarded that although barely 22 years old, he took his first pupils. One of his students was the famous artist Gerrit Dou. Rembrandt moved to Amsterdam in 1631; his marriage in 1634 to Saskia van Uylenburgh, the cousin of a successful art dealer, enhanced his career, bringing him in contact with wealthy patrons who eagerly commissioned portraits. An exceptionally fine example from this period is the Portrait of Nicolaes Ruts (1631, Frick Collection, New York City). In addition, Rembrandt's mythological and religious works were much in demand, and he painted numerous dramatic masterpieces such as The Blinding of Samson (1636, Städelsches Kunstinstitut, Frankfurt).

Because of his renown as a teacher, his studio was filled with pupils, some of whom (such as Carel Fabritius) were already trained artists. In the 20th century, scholars have reattributed a number of his paintings to his associates; attributing and identifying Rembrandt's works is an active area of art scholarship. In contrast to his successful public career, however, Rembrandt's family life was marked by misfortune. Between 1635 and 1641 Saskia gave birth to four children, but only the last, Titus, survived; her own death came in 1642- at the age of 30. Hendrickje Stoffels, engaged as his housekeeper about 1649, eventually became his common-law wife and was the model for many of his pictures. Despite Rembrandt's financial success as an artist, teacher, and art dealer, his penchant for ostentatious living forced him to declare bankruptcy in 1656.

An inventory of his collection of art and antiquities, taken before an auction to pay his debts, showed the breadth of Rembrandt's interests: ancient sculpture, Flemish and Italian Renaissance paintings, Far Eastern art, contemporary Dutch works, weapons, and armor. Unfortunately, the results of the auction - including the sale of his house - were disappointing. These problems in no way affected Rembrandt's work; if anything, his artistry increased. Some of the great paintings from this period are The Jewish Bride (1665), The Syndics of the Cloth Guild (1661, Rijksmuseum, Amsterdam), Bathsheba (1654, Musée du Louvre, Paris), Jacob Blessing the Sons of Joseph (1656, Staatliche Gemäldegalerie, Kassel, Germany), and a self-portrait (1658, Frick Collection). His personal life, however, continued to be marred by sorrow. His beloved Hendrickje died in 1663, and his son, Titus, in 1668- only 27 years of age.

Eleven months later, on October 4, 1669, Rembrandt died in Amsterdam. from: Rembrandt van Rijn Biography - Oil Painting Reproductions Rembrandt van Rijn (1606 - 1669) Rembrandt was born in Leiden on July 15, 1606- his full name Rembrandt Harmenszoon van Rijn. He was the son of a miller. Despite the fact that he came from a family of relatively modest means, his parents took great care with his education. Rembrandt began his studies at the Latin School, and at the age of 14 he was enrolled at the University of Leiden. The program did not interest him, and he soon left to study art - first with a local master, Jacob van Swanenburch, and then, in Amsterdam, with Pieter Lastman known for his historical paintings. After six months, having mastered everything he had been taught, Rembrandt returned to Leiden, where he was soon so highly regarded that although barely 22 years old, he took his first pupils. One of his students was the famous artist Gerrit Dou.

Rembrandt moved to Amsterdam in 1631; his marriage in 1634 to Saskia van Uylenburgh, the cousin of a successful art dealer, enhanced his career, bringing him in contact with wealthy patrons who eagerly commissioned portraits. An exceptionally fine example from this period is the Portrait of Nicolaes Ruts (1631, Frick Collection, New York City). In addition, Rembrandt's mythological and religious works were much in demand, and he painted numerous dramatic masterpieces such as The Blinding of Samson (1636, Stï¿½delsches Kunstinstitut, Frankfurt). Because of his renown as a teacher, his studio was filled with pupils, some of whom (such as Carel Fabritius were already trained artists. In the 20th century, scholars have reattributed a number of his paintings to his associates; attributing and identifying Rembrandt's works is an active area of art scholarship. In contrast to his successful public career, however, Rembrandt's family life was marked by misfortune.

Between 1635 and 1641 Saskia gave birth to four children, but only the last, Titus, survived; her own death came in 1642- at the age of 30. Hendrickie Stoffels, engaged as his housekeeper about 1649, eventually became his common-law wife and was the model for many of his pictures. Despite Rembrandt's financial success as an artist, teacher, and art dealer, his penchant for ostentatious living forced him to declare bankruptcy in 1656. An inventory of his collection of art and antiquities, taken before an auction to pay his debts, showed the breadth of Rembrandt's interests: ancient sculpture, Flemish and Italian Renaissance paintings, Far Eastern art, contemporary Dutch works, weapons, and armor. Unfortunately, the results of the auction - including the sale of his house - were disappointing. These problems in no way affected Rembrandt's work; if anything, his artistry increased.

Some of the great paintings from this period are The Jewish Bride (1665), The Syndics of the Cloth Guild (1661, Rijksmuseum, Amsterdam), Bathsheba (1654, Louvre, Paris), Jacob Blessing the Sons of Joseph (1656, Staatliche Gemï¿½ldegalerie, Kassel, Germany), and a self-portrait (1658, Frick Collection). His personal life, however, continued to be marred by sorrow. His beloved Hendrickje died in 1663, and his son, Titus, in 1668- only 27 years of age. Eleven months later, on October 4, 1669, Rembrandt died in Amsterdam. Rembrandt Van Rijn | Jewish Virtual Library Tweet Dutch painter and engraver, considered Holland's national cultural hero. Born in Leiden, he was probably reared in Calvinism, the official religion of Holland. There has been some speculation that Rembrandt became a Mennonite later in life. Rembrandt has always been associated with the Jews of Amsterdam.

His religious-cultural background naturally brought him nearer to the Hebraic than the Hellenistic heritage and, like his fellow Dutchmen, he was well versed in the Old and New Testaments. The new Dutch Republic at that time was celebrating its liberation from Spain, and regarded itself as the chosen people, the "New Israel," and its land as a "New Jerusalem," while the Spanish oppressor was likened to Pharaoh or Haman of biblical times. Like other Dutch artists of the time Rembrandt painted Old Testament subjects and created many wonderful drawings and etchings. His pupils continued this trend, often using his drawings as the basis for their work. For these Old Testament depictions Rembrandt may have used Jewish models, which were portrayed in a sympathetic and, above all, human manner. Rembrandt learned his first lessons in giving form to biblical texts from his teacher Pieter Lastman (1583ï¿½1633), and from 16th-century prints. An early work by Rembrandt is Balaam and the Ass (1626; Paris), similar to and inspired by Lastman's work on the same subject (1622; Jerusalem).

In certain instances his treatment of the themes deviates from the traditional and has led scholars to speculate that Rembrandt may have derived his novel interpretations from conversations with rabbinical authorities, who provided him with details from post-biblical Jewish literature. It has been shown that Rembrandt and other artists consulted the Antiquities of *Josephus Flavius to enrich their biblical iconography. In his New Testament depictions the Jews, especially when he depicts the Pharisees, are sometimes shown as "suspicious of the Christian Miracle." Rembrandt lived in the Jewish Quarter in Amsterdam on the Breestraat from 1633 to 1635 and from 1639 to 1658. It has been suggested that his choice of a home in Amsterdam's Breestraat was motivated by its proximity to the city's growing Jewish community. In actual fact quite a few artists resided in this quarter. Rembrandt was friendly with two Sephardi Jews, one of whom was the physician Ephraim Hezekiah *Bueno (Bonus).

The Rijksmuseum in Amsterdam owns a small Rembrandt oil portrait of Ephraim Bueno, a preliminary study for the etching of 1647. In World War II this portrait was "bought" by the Nazis for Hitler's museum, from the dealer Mannheimer. Rembrandt's other Jewish friend was *Manasseh ben Israel; Rembrandt's etching of him in 1636 is supposed to have been based on a painted portrait that has disappeared. It is doubtful, though, whether it is in fact a portrait of Manasseh ben Israel, but, on the other hand, there is no doubt that Rembrandt and Manasseh knew each other. In Rembrandt's 1635 Balthazar's Feast (National Gallery, London), a mysterious hand writes the words: Mene Mene Tekel Upharsin in Hebrew letters on the wall. Rembrandt may have consulted Manasseh about the script and in what manner the writing should be arranged. He wrote the words from top to bottom, according to an old Jewish tradition, which was later quoted in Manasseh's book De Termino Vitae.

For Manasseh's book Piedra Gloriosa, o de la Estatua de Nebuchadnesar ("The Glorious Stone, or Nebuchadnezzar's Statue," 1655) Rembrandt made four etchings, one of which was the David and Goliath. His plates were not found acceptable on religious rather than aesthetic grounds, and a new commission was accordingly given to another artist ï¿½ possibly the Jewish copper engraver Shalom *Italia. The painting and the four etchings are based on the book of Daniel, and are related to messianic ideas common in Holland at that time. Manasseh was, in many respects, a mediator between Jews and Christians. He, like the philo-Semites, was fostering millenarian hopes for messianic salvation. There has been much speculation as to whether Rembrandt and Baruch *Spinoza knew each other. The assertion that Rembrandt was Spinoza's drawing teacher has been rejected. Many scholars have claimed to see a likeness of Spinoza in paintings by Rembrandt, yet alleged identifications have remained highly debatable.

There is a possibility that the two may have met at the home of Manasseh ben Israel, who was one of Spinoza's teachers, or at the home of Spinoza's Latin teacher, Dr. Frans van den Emden, where one of Rembrandt's pupils was a lodger, or at meetings of Collegiants and Mennonites which the philosopher occasionally attended. Much of what we think about Rembrandt and the Jews derives from ideas formulated in the 19th century. E. Kolloff wrote in 1854 about Rembrandt's depictions of the biblical past as bearing a "strong touch of the Judaic." Rembrandt's financial problems, which eventually led to his bankruptcy in 1656, were believed to be the result of his relations with Jewish patrons, especially Manasseh ben Israel, who had allegedly influenced him to spend time and money on kabbalistic ideas. Evidence of Rembrandt's artistic interest in the Jews he encountered in Amsterdam is provided by his numerous drawings, in pen and bistre, or brown or black chalk, of bearded old Jews in long coats.

His early depictions of beggars in high hats are not of Jews, but probably based on J. Callot's prints of vagabonds. His etching known as Jews in the Synagogue (1648) shows nine Jews and not a minyan (quorum) as has been stated. Nor is it any longer agreed that the setting is a synagogue, and it has been suggested that the picture should be titled, A Scene in the Jewish Quarter of Amsterdam. The Jewish Bride (Rijksmuseum; painted after 1665) may not be a portrait of Jews at all, though one scholar maintains that the sitters are the Jewish poet Miguel de *Barrios, and his much younger wife, Abigail de Pinna. The title was given to the painting in 1825, and therefore lacks historical justification. It is now believed to be a biblical painting, most probably of Isaac and Rebecca. Already in the 18th century art collectors cataloguing their collections gave Jewish "Romantic" names to some of the artist's works, as for instance two etchings, labeled the Great Jewish Bride and the Small Jewish Bride by Valerius Rover, but which are not what they are called.

A number of portraits assigned to Rembrandt, including some that may be works by his pupils, are believed to be of Jews, though the titles alone, often supplied by dealers, are not sufficient proof. The sole documentary evidence that Rembrandt found patrons among the well-to-do Sephardim of Amsterdam is a deposition concerning a disagreement between the artist and a certain Diego d'Andrade over a portrait of a young woman (perhaps Diego's daughter) which the patron had found unsatisfactory. This painting has, very tentatively, been identified as one in a private collection in Toronto. All identifications of portraits of unknown Jews based on "racial" features are tentative, though in certain cases the physiognomy and style of clothing appear to be more persuasive than in others. Jewish sitters have thus been claimed for as many as 40 oils, but the number is open to challenge. A painting in Rembrandt's inventory of 1656 which is listed as "a Head of Christ, a study from life" and related works were probably painted after a Jewish model. According to S.

Schama some of the types of people dressed in heavy coats and fur hats (kolpaks) are actually Polish noblemen from Gdansk, and not Jewish. It is assumed that quite often Jewish beggars, who were poverty-stricken Ashkenazi refugees from Poland, served as paid models. Among Rembrandt's most celebrated oils on Old Testament themes in major public collections the following may be named: Samson and Delilah (1628; Berlin), Jeremiah Lamenting the Destruction of Jerusalem (1630; Amsterdam); Saul and David (1631; Frankfurt); Sacrifice of Abraham (1635; St. Petersburg); Samson Threatening his Father-in-law (1635; Berlin); Blinding of Samson (1636; Frankfurt); The Angel Leaving the Family of Tobias (1637; Paris); Samson's Wedding Feast (1638; Dresden); David's Farewell to Jonathan (1642; St.

Petersburg); Bathsheba at her Toilet (1643; New York); Susanna and the Elders (1647; Berlin); Bathsheba with David's Letter (1654; Paris); Joseph Accused by Potiphar's Wife (1655; Berlin); Saul and David (c. 1655; The Hague); Jacob Blessing the Sons of Joseph (1656; Kassel); Jacob Wrestling with the Angel (c. 1659; Berlin); Moses Holding the Tablets of the Law (1659; Berlin). In this last-mentioned painting the tablets are inscribed in beautiful Hebrew lettering in accordance with the Amsterdam Sephardi manner. Rembrandt made numerous drawings and prints of Old Testament subjects. Often he seeks to analyze the human motives and the psychological turning points of the episodes. Many are depictions of the stories of Genesis, such as Joseph's Coat Brought to Jacob (1633); Abraham Casting Hagar and Ishmael (1637); Joseph Telling his Dreams (1638); Adam and Eve, (1638); Abraham's Sacrifice (1655).

The story of Tobias also held his fascination throughout his life. In 1651 he made the print of The Blindness of Tobit. In his famous etching The Triumph of Mordecai of c. 1641 Rembrandt shows the Temple of Jerusalem through an arch, which is an allusion to the building of the Third Temple. The print is close in conception and composition to the Night-watch, Rembrandt's great masterpiece. Jewish artists after the Emancipation considered Rembrandt and his "Jewish" creations as proof of the fact that Jewish art was possible. BIBLIOGRAPHY: J. Bab, Rembrandt und Spinoza (1934); W.R. Valentiner, Rembrandt and Spinoza (1957); L. Balet, Rembrandt and Spinoza (1962); J. Rosenberg, Rembrandt (1964); F. Landsberger, Rembrandt, the Jews and the Bible (19722); C. Tuempel, Rembrandt (1992); M. Weyl and R.

Weiss-Blok (eds.), Rembrandt's Holland (1993); S. Schama, Rembrandt's Eyes (1999); M. Zell, in: Simiolus 28 (2000–1), 181–97; S. Perlove, in: Dutch Crossing, 25 (2001), 2, 243ff.; M. Zell, Reframing Rembrandt's Jews and the Christian Images (2002); S. Nadler, Rembrandt's Jews (2003). [Alfred Werner / Rembrant | Article about Rembrant by The Free Dictionary Rembrant | Article about Rembrant by The Free Dictionary Also found in: Dictionary , Thesaurus , Wikipedia . Rembrandt full name Rembrandt Harmensz (or Harmenszoon) van Rijn (or van Ryn). 1606--69, Dutch painter, noted for his handling of shade and light, esp in his portraits Rembrandt (full name, Rembrandt Harmensz van Rijn).

Born July 15, 1606, in Leiden; died Oct. 4, 1669, in Amsterdam. Dutch painter, draftsman, and etcher. Rembrandt’s art is distinguished by an unusual vitality and humanity. The artist combined his keen insight into human emotions with an exceptional painting technique, in which special importance was given to subtle effects of chiaroscuro. His principal genres were portraits and biblical and mythological scenes. Rembrandt’s brush transformed mythological tales into stories having deep psychological expressiveness, revealing human feelings and relationships, and enriched by the artist’s observations of the daily lives of his contemporaries. Rembrandt was a tireless and most original draftsman and an unsurpassed master of etching. He often combined etching with the use of a drypoint tool; he also achieved artistic effects using printing methods. Rembrandt, the son of a miller, entered the University of Leiden in 1620 but stayed only a short while, leaving to devote himself entirely to art. He studied painting with J. von Swanen-burgh in Leiden (c. 1620–23) and with P.

Lastman in Amsterdam (1623). In the period 1625–31, Rembrandt set up as an independent artist in Leiden. His early canvases, such as The Presentation in the Temple (c. 1628–29, Kunsthalle, Hamburg), are somewhat gaudy and trivial in execution, but they already revealed a richness of fantasy and an effort to convey emotion expressively. In 1632, Rembrandt moved to Amsterdam. Important in his life from this point on were his wife of eight years, Saskia van Ulenburgh (1634–42), and his common-law wife, Hendrickje Stoffels, with whom he lived from roughly 1649 to 1663. The period from 1630 through the early 1640’s was the time of the master’s greatest professional and personal triumphs. Rembrandt won fame in 1632 with the group portrait The Anatomy Lesson of Doctor Tulp (Mauritshuis, The Hague). He subsequently received numerous commissions and acquired many students.

Rembrandt’s portraits from this period are marked by a detailed rendering of the facial features, costume, and jewelry (for example, Portrait of Cornells Claezoon Ansio and a Woman, 1641, Picture Gallery, Berlin-Dalem). In his self-portraits and portraits of his relatives and friends, Rembrandt employed broad brushwork and sought dramatic effects (for example, Rembrandt and Saskia, c. 1635, Picture Gallery, Dresden). The artist produced a number of works in which the superficial passion and dynamism of the baroque predominated (for example, The Blinding of Samson, 1636, Staedel Institute, Frankfurt am Main). At the same time, Rembrandt painted works marked by an underlying drama and a democracy of image (for example, The Descent From the Cross, 1634, Hermitage, Leningrad). Some works from this period, such as Danaë (1636, Hermitage), are realistic in execution. Rembrandt produced his first landscapes during the 1630’s. An example is The Stone Bridge (c. 1638, Rijksmuseum, Amsterdam).

The artist’s first major etchings, including The Return of the Prodigal Son (1636) and Self-portrait Leaning on a Stone Wall (1639), also date from this period. Rembrandt produced his best pencil drawings, employing various techniques, in this early period. However, he most often worked in ink and brush. The growing conflict between Rembrandt’s art and the bourgeois Dutch society, which had lost its democratic traditions, reached a crisis in 1642, when the painting Night Watch (Rijksmuseum) provoked the protests of those who commissioned the work. Instead of painting a conventional group portrait, Rembrandt had created a dramatic scene depicting a group of militiamen assembling. The portrait was essentially a historical painting that revived memories of the Dutch people’s liberation struggle. This picture marked Rembrandt’s fall from favor. Commissions virtually stopped, and only a few students remained in the master’s studio. During the 1640’s, Rembrandt’s work achieved a greater composure. It consisted mostly of tranquil biblical scenes that are full of warmth and that suggest human suffering in a very subtle way.

Among Rembrandt’s biblical paintings are David and Jonathan (1642, Hermitage), The Holy Family (1645, Hermitage), and Christ and His Disciples at Emmaus (1648, Louvre, Paris). Rembrandt continued to produce portraits (for example, The Man With the Golden Helmet, c. 1650, Picture Gallery, Berlin-Dalem) and landscapes (for example, Winter Landscape With Skaters, 1646, Picture Gallery, Kassel). Rembrandt’s painting from this period is marked by a bold play of light and shadow and by a warm palette, predominated by red and golden brown hues. His graphic art from the 1640’s is characterized by emotion-packed images and very subtle chiaroscuro. Etchings from this period include Hundred Guilder Print (also known as Christ Healing the Sick, c. 1642–46) and The Three Trees (1643).

In the 1650’s, Rembrandt turned more frequently to scenes with large figures, imparting to the images a monumental quality and a greater sense of form (for example, Jacob Blessing the Sons of Joseph, 1656, Picture Gallery, Kassel). It was during this period that the artist produced many of his most important portraits, including Jan Six (1654), Portrait of Titus Reading (c. 1657, Museum of Art History, Vienna), and Self-portrait (1660, Louvre). Rembrandt’s portraits of old people, for example, Portrait of Rembrandt’s Sister-in-law (1654, Pushkin Museum of Fine Arts, Moscow) and Portrait of the Old Man in Red (c. 1652–54, Hermitage), reflect the inner beauty and wisdom of people who have led a long life full of sorrow and privation. Rembrandt’s work as a graphic artist during the 1650’s was similar to his painting (for example, the etchings The Blindness of Tobit, 1651; Faust, c.

1652; The Three Crosses, 1653). In 1656, Rembrandt was declared bankrupt, and in 1657 and 1658 all his property was sold at auction. The painter moved to the Jewish section of Amsterdam, and it was here that he spent the last years of his life under straitened conditions. During the last decade of his life, Rembrandt attained the apex of his creative powers, achieving a synthesis of all his strivings. In 1661 he was commissioned to paint a large historical canvas for the Amsterdam city council on a theme from Holland’s distant past. The painting, The Conspiracy of Claudius Civilis (fragment preserved, 1661, National Museum, Stockholm), is distinguished by its monumental quality and power of conception. However, it was rejected by those who commissioned it because of its strict realism. In his late period, Rembrandt produced a number of profound and psychologically complex religious compositions, for example, Assur, Aman, and Esther (1660, Pushkin Museum of Fine Arts) and The Return of the Prodigal Son (c.

1668–69, Hermitage). His portraits from this late period are noted for their simplicity and strength of characterization (for example, Syndics of the Cloth Guild, 1662, Rijksmuseum; Jeremias de Decker, 1666, Hermitage). Rembrandt’s broad, free technique produced an extraordinary spatial depth, and his use of light and shadow became a powerful means of compositional construction and revelation of psychological conflict. The artist’s late drawings, executed mainly with a reed pen, reveal a keen power of observation and depict the most characteristic features of nature. Only a few of Rembrandt’s students, such as C. Fabritius and A. de Gelder, were able to grasp fully the master’s artistic principles. However, Rembrandt’s innovations in realistic representation made him one of the most influential artists in the history of world art. REFERENCES Rembrandt (1606 - 1669) - Find A Grave Memorial Amsterdam Municipality Noord-Holland, Netherlands Artist. Born Rembrandt Harmenszoon van Rijn in Leiden, the Netherlands, the son of a miller.

He attended Latin School, and at the age of 14 he was enrolled at the University of Leiden where he studied science and anatomy before leaving to study with artist Jacob van Swanenburch. He then progressed to painting master Pieter Lastman in Amsterdam, who taught him the techniques of light and dark. By 22 he had set up his own studio in his hometown and began to develop a favorable reputation. By 1631 he relocated to Amsterdam where he met and married Saskia van Uylenburgh some three years later, and with whom he had one surviving child. His reputation as a portraitist had grown and he began seeing numerous commissions including one which resulted in 'The Anatomy Lesson of Dr Nicholas Tulp' which became one of his first important works. In 1634, he became a member of the Guild of St. Luke, which gained him more work, such as commissions for religious paintings like 'The Blinding of Samson.' By 1636, his renown as a teacher allowed him to take on students but his finances remained precarious. In 1642 he accepted a commission that became one of the important works of his career, 'The Company of F.B.

Cocq,' or 'The Night Watch' as it became known. In 1656, he was forced to declare bankruptcy, and he had to sell many of his paintings. His work from that period included some of his best known including 'Bathsheba' from 1654, 'Jacob Blessing the Sons of Joseph' from 1656, and a self-portrait from 1658. That same year his son, Titus, moved to protect his father's work from creditors by starting their own art dealership, for which the artist was only an employee, therefore not owner the works. Titus succumbed to plague in 1668 at 27, the artist followed some eleven months later having painted another three self portraits in the last year of his life. Art historians estimate there are as many as 600 of his works in collections around the world including over 50 self-portraits and thousands more etchings and drawings. He is widely regarded as one of the most influential artists in history, a master of shadows and light. (bio by: Iola)

Question: Who painted "The Binding Of Samson" (1636) and "Jacob Blessing The Sons Of Joseph" (1656)?
Answer: REMBRANDT